Earl “Bud” Powell (1924-1966)

December 19, 2009 
/ Contributed By: Michelle Granshaw

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Bud Powell

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Bud Powell, jazz pianist, was born Earl Powell in New York City.  His father, William Powell, worked as a building superintendent. Powell grew up surrounded by musicians, including his father, who played piano, his brother William, who played trumpet and violin, and his brother Richie, who also played piano. Powell started to learn piano from his father at age three and began taking professional lessons at age six. These early years exposed Powell to a variety of musical influences, including Ludvig van Beethoven, Frederic Chopin, Robert Schumann, and Johann Sebastian Bach as well as Fats Waller, Art Tatum, Teddy Wilson, and Billy Kyle.

At fifteen, Powell quit Bronx’s DeWitt Clinton High School to play music.  He joined his brother William’s band and began playing at the Chicken Coop Restaurant in Harlem, the Palace in Greenwich Village, and Minton’s Playhouse. Pianist Thelonious Monk influenced Powell’s developing musical style and helped introduce him to New York’s music crowd and major jazz venues. Powell would later record many of Monk’s compositions.  In 1943, Powell joined Charles “Cootie” William’s big band and he started to make records.  In 1945, he played with Dizzy Gillespie and Charlie Parker as the Three Deuces.  Some of Powell’s key recordings include Hallucinations, Dance of the Infidels, Tempus Fugue-it, Bouncing with Bud, and The Glass Enclosure.  His records and live music sessions earned him a reputation as one of bebop’s most important pianists.

As he started to make a name for himself in the music world in the 1940s, Powell struggled with alcoholism and mental illness, which limited Powell’s live performances.  New York City Police officers beat Powell in a racially charged conflict in 1945 that many believed contributed to his mental issues.  Between 1945 and 1955, Powell was sent to mental institutions five times.  In March 1953, Powell married Audrey Hill, with whom he had one child, Celia Powell. In 1954, he started living with Altevia “Buttercup” Edwards.  Edwards later became Powell’s manager.  Powell continued to play and record sporadically.   He joined Dizzy Gillespie’s second big band and played during Charlie Parker’s final performance.

In 1959, Powell moved to Paris, France, where he met Frances Paudras, who would later write about their friendship. While in Europe, Powell contracted tuberculosis, which exacerbated his worsening health issues.  He returned to New York in 1964 where he made a few appearances between 1964 and 1966.  Earl “Bud” Powell died of tuberculosis, malnutrition, and alcoholism in New York City in 1966.  Several thousand people viewed his Harlem funeral procession.

About the Author

Author Profile

Michelle Granshaw is an Associate Professor and Director of Graduate Studies in the Department of Theatre Arts at the University of Pittsburgh. She is affiliate faculty with the Global Studies Center, the European Union Center of Excellence/European Studies Center, Gender, Sexuality, and Women Studies Program, and Cultural Studies. At Pitt, she teaches in the BA, MFA, and PhD programs and mentors student dramaturgs. Granshaw was honored to receive the University of Pittsburgh’s 2021 Dietrich School of Arts and Sciences Excellence in Graduate Mentoring Award.

As a cultural historian, her research focuses on disenfranchised, and migrant communities and how they shaped and were influenced by the embodied and imaginative practices within theatre and performance. Her research interests include U.S. theatre, popular entertainment, and performance; performances of race, ethnicity, gender, and class; global and diasporic performance; and historiography.

Granshaw’s articles have appeared in Theatre Survey, Nineteenth Century Theatre and Film, Popular Entertainment Studies, Journal of American Drama and Theatre, Theatre Topics, and the New England Theatre Journal. In 2014, Granshaw was awarded the American Theatre and Drama Society Vera Mowry Roberts Award for Research and Publication for her Theatre Survey (January 2014) article “The Mysterious Victory of the Newsboys: The Grand Duke Theatre’s 1874 Challenge to the Theatre Licensing Law.” Her book, Irish on the Move: Performing Mobility in American Variety Theatre (University of Iowa Press, 2019) argues that nineteenth-century American variety theatre formed a crucial battleground for anxieties about mobility, immigration, and ethnic community in the United States. It was named a finalist for the 2019 Theatre Library Association George Freedley Memorial Book Award and supported by grants and fellowships including the Hibernian Research Award from the Cushwa Center for the Study of American Catholicism at the University of Notre Dame, American Theatre and Drama Society Faculty Travel Award, and Harry Ransom Center Research Fellowship. “Inventing the Tramp: The Early Tramp Comic on the Variety Stage,” part of Irish on the Move’sfirst chapter, also won the 2018 Robert A. Schanke Theatre Research Award at the Mid-America Theatre Conference. Currently, she is working on a new monograph titled The Fight for Desegregation: Race, Freedom, and the Theatre After the Civil War. In November 2022, she received an American Society for Theatre Research Research Fellowship in support of the project.

Granshaw currently serves on the Executive Board for the American Theatre and Drama Society (term 2021-5) and co-organizes ATDS’s First Book Bootcamp and Career Conversations series.

CITE THIS ENTRY IN APA FORMAT:

Granshaw, M. (2009, December 19). Earl “Bud” Powell (1924-1966). BlackPast.org. https://www.blackpast.org/african-american-history/powell-bud-1924-1966/

Source of the Author's Information:

Francis
Paudras, Dance of the Infidels: A
Portrait of Bud Powell
(New York: Da Capo Press, 1998); Alan Groves and
Alyn Shipton, The Glass Enclosure: The
Life of Bud Powell
(New York:
Continuum, 2001); Ira Gitler, Jazz
Masters of the Forties
(New York: Macmillan Publishing Company, 1974).

Further Reading